WILLIAM ELLIOTT WHITMORE (ABO #378)

WILLIAM ELLIOTT WHITMORE
AND THEN THE RAINS CAME

William Elliott Whitmore is a bit of an anomaly. He’s got the slim, tattooed body of a punk rocker and the voice of a 90-year old black bluesman. He’s a musician who has toured with the likes of Murder By Death and opened for the Pogues, but off the road he spends his days as a horse farmer in Iowa.
Reviving the outlaw concept in quality country/folk/acoustic blues, William's may seem a tad depressing and it indeed is, in its own haunted beautiful way and it’s quite addictive that way, don’t say you haven’t been warned.
This compilation is just an introduction to an artist that hopefully has a long career ahead of him at only 32 years old.

RIYL:
Ben Nichols, Townes Van Zandt, Steve Von Till

DIXIE DREGS (ABO#371)

DIXIE DREGS

THE UNPREDICTABLE PROCESS

(OR HOW TO CREATE A MONSTER)

(1975-2000)

Dixie Dregs is a bit of everything. If it is over all a Fusion band mixing both Jazz and Rock styles, it also sounds like many other types of music. You'll find some Progressive Hard Rock à la Kansas played with a velocity that can remind us John McLaughlin or Al Dimeola. Their Dixie roots also allowed them to play country style.

The line-up was very unstable and at the exception of Steve Morse, no one played on every albums. The adventure stopped in 1982 while Morse founded his own band before joining Deep Purple. The band reunited though for a tour in 1992 and then recorded 3 more albums including 2 live ones.

My Dixie Dregs Top 3 :

1. What If (1978)

2. The Great Spectacular (1975/1994)

3. The Night Of The Living Dregs (1978)

My Dixie Dregs Bottom 3 :

1. Industry Standard (1982)

2. Full Circle (1994)

3. Unsung Heroes (1980)

RY COODER (ABO#303)

RY COODER

RYLAND P. COODER

(1970-2008)

Ryland P. Cooder, or Ry Cooder as we all know him. Session Musician, Producer, Singer, Songwriter, Collaberator, Soundtrack Composer, are just some of the strings That Ry has plucked.

You could be forgiven for thinking that he was a jack of all trades but master of none but

that's not the case. Whatever Ry has turned his hand to, he seems to have mastered, as I hope these CDs will show. I have opted for a non chronological order and also resisted the tempation to compile by theme. Some songs from whatever period or project he was on seemed to naturally follow. I think it works best this way, but you be the judge.

Ry stared out his career as a 17yr old with Captain Beefheart and soon earned a reputation as

hot player playing with everyone over the years from Little Feat to The Chieftains and an infamous encounter with The Rolling Stones where it was claimed he was asked to join, he didn't but left Keith with new style of playing.

After a succession of criticaly acclaimed albums and a growing cult following he moved into

the world of movie soundtracks and his solo work slowed down. When he wasn't doing soundtracks, he was collaborating with musicians form all over the world, the most acclaimed of course "The Bueno Vista Social Club" which spawned an industry in itself.

He recently returned to solo work and the last three albums stand comparisons with anything

else he has done. I think these 4 CDs represent the diversity of Ry Cooder as an artist.

-TT-

TT's Ry Cooder TOP4 (this week) :

1. Mambo Sinuendo (2003) [w/ Manuel Galbán]

2. Bop Till You Drop (1979)

3. Paradise and Lunch (1974)

4. I, Flathead (2008)

NOTE:
The image for the inside cover of the Ry Cooder baistophe was wrong. We changed it as soon as we were notified of our mistake. However, the images in the link are not necessary the ones shown on the blog, you will, thus, have to take the right images from this very page to have a correct set.
Sorry for the inconvenience and stay tuned at BAISTOPHE.

THE BYRDS (ABO #294)

THE BYRDS
EIGHT MILES HIGH:
ANTHOLOGY OF A POP LEGEND (1965-1973)

Hey there. Hope you like the new header...
So... Today, after the industrial music of Einsturzende Neubautent, the (free) jazz of Magma's Christian Vander, the classical minimalism of Steve Reich, the ambient art of Mr. Brian Eno, the French pop/chanson of Alain Souchon, the oh so sweet soul/funk of the dearly missed Isaac Ayes, the electronic music of Art of Noise and the ethno-disco of a Voyage comes the pop/psych/country-folk extravangaza The Byrds' career has been.
Yeah, we do indeed love music in its most various forms and we'll continue to display such diversity as long as Baistophe's will live (and, once again, your suggestions and own compilations are welcomed).
As for the Byrds, I feel it's unnecessary to introduce them as they are one of the most influencial acts of the American sixties' scene. A great band that gave us plenty of good music that anyone not yet familiar with should try, now!

My BYRDS Top Three
1 - Fifth Dimension (1966)
2 - Sweetheart of the Rodeo (1968)
3 - Mr. Tambourine Man (1965)

My BYRDS Bottom Three
1 - Byrdmaniax (1971)
2 - The Byrds (1973)
3 - Dr. Byrds and Mr. Hyde (1969)

(it has to be noted that, with the notable exception of "Byrdmaniax," all Byrds' albums are worth your attention)

RIYL:
Buffalo Springfield, The Beau Brummels, Love

ALLMAN BROTHERS BAND (ABO#251)

ALLMAN BROTHERS BAND

MEET ME AT THE MUSHROOM FOREST

1969-2003

Prejudices are a bit too scathing in this low World. Talk about Southern Rock, anyone could think of the Rebs flag, racism or even the KKK. That's not all true. Lynyrd Skynrd were usually (and still are) embossed because of their hit single Sweet Home Alabama, while this song his just a song made to break those prejudices. Allman Brothers Band had not that kind of problem. First because they had a much more peaceful identity, and second, because they had a black member.

Beside, ABB music sounds very like LySky ones, but much more jazzy and aventurous. Gregg Allman's voice is just the twin brother to Ronnie Van Zant's.

By the way, I really prefer ABB's discography, much more inventive and, contrary to Lynyrd Skynyrd, their come back in the 90s really caught the initial spirit. This is a 3CD set, I couldn't make better.

My ABB's TOP3 :

1. Live At Filmore* (1971)

2. Eat A Peach (1972)

3. Hittin' The Note (2003)

My ABB's BOTTOM3 :

1. Reach For The Sky (1980)

2. Seven Turn (1991)

3. Brothers Of The Road (1981)

(*) = This live album is a bit like a studio album, like mostly any live Allman Brothers album of the 70s, because it features plenty of new songs at that day.

THE DOOBIE BROTHERS (ABO#243)

THE ESSENTIAL

THE DOOBIE BORTHERS

(1970-2000)

As one of the most popular Californian pop/rock bands of the '70s, the Doobie Brothers evolved from a mellow, post-hippie boogie band to a slick, soul-inflected pop band by the end of the decade. Along the way, the group racked up a string of gold and platinum albums in the U.S., along with a number of radio hits like "Listen to the Music," "Black Water," and "China Grove."

Disbanded in 1980 after their forgettable album One Step Closer, the Doobies were back in the late 80s for much more forgettable ones. In fact the band intensively toured, what they do the best and at the exception of one last studio album in 2000, the Doobie Brothers only record live albums with no new composition, which is a bit sad. [freely inspired from AMG]

My Doobie Brothers TOP3 :

1. What Were Once Vices Are Now Habits (1974)

2. The Doobie Brothers (1971)

3. Toulouse Street (1972)

My Doobie Brothers BOTTOM3 :

1. Brotherhood (1990)

2. One Step Closer (1980)

3. Cycles (1989)

NICKEL CREEK (ABO #215)

NICKEL CREEK
AS LONG AS THE GRASS IS BLUE

Distinguished by their youth and eclectic taste, Nickel Creek became a word-of-mouth sensation on the progressive bluegrass scene and soon found their appeal spreading beyond the genre's core audience. Guitarist Sean Watkins, fiddler Sara Watkins (his younger sister), and mandolin/banjo/bouzouki player Chris Thile first started performing together in 1989, when all three were preteens and taking music lessons in their native San Diego. They met while watching the local band Bluegrass Etc., which put on weekly performances in a pizza parlor. A bluegrass promoter liked the idea of such a young band, and thus Nickel Creek was formed, with Thile's father Scott joining them on bass.
In 1998, with help from Alison Krauss, Nickel Creek landed a record deal with the roots music label Sugar Hill. Krauss produced their self-titled debut album, which was released in 2000; with the kids apparently all right, Scott subsequently retired from the band.
In 2002, the band released This Side. The album was a major transition from their previous release. Although the core influence of bluegrass remained throughout the album, many other genres were present, such as indie rock and folk rock (the band covered Spit on a Stranger by Pavement, and Should've Known Better by Carrie Newcomer).
Three years after the release of This Side, Nickel Creek released their fifth album Why Should the Fire Die?. The album brought even more rock and pop influences to Nickel Creek, than This Side did.
In mid-2006, Nickel Creek announced it would be taking an indefinite hiatus following a scheduled tour the next year, so its members could concentrate on solo work.

LYLE LOVETT (ABO #205)

LYLE LOVETT
HERE I AM

Lyle Lovett is an American singer-songwriter and actor. Active since 1980, he has recorded thirteen albums and won four Grammy Awards, including Best Male Country Vocal Performance and Best Country Album.
one of the most distinctive and original singer/songwriters to emerge during the '80s. Though he was initially labeled as a country singer, the tag never quite fit him. Lovett had more in common with '70s singer/songwriters like Randy Newman and Townes Van Zandt, combining a talent for incisive, witty lyrical detail with an eclectic array of music, ranging from country and folk to big-band swing and traditional pop. Lovett's literate, multi-layered songs stood out among the formulaic Nashville hit singles of the late '80s as well as the new traditionalists who were beginning to take over country music. Drawing from alternative country and rock fans, Lovett quickly built up a cult following which began to spill over into the mainstream with his second album, 1988's Pontiac. Following Pontiac, his country audience declined, but his reputation as a songwriter and musician continued to grow.
It was time Baistophe paid homage to this one of a kind American artist.

Skinny Legs (Live)


That's Right, You're Not from Texas (Live)

My LYLE LOVETT Top 3:
1 - The Road to Ensenada (1996)
2 - I Love Everybody (1994)
3 - Pontiac (1987)

My LYLE LOVETT Bottom 3:
1 - Step Inside This House (1998)
2 - Lyle Lovett (1986)
3 - It's Not Big It's Large (1986)

BLACK OAK ARKANSAS (ABO#175)

BLACK OAK ARKANSAS
THE BIG ONE'S COMING
(1969-1999)

Black Oak Arkansas grew beside success. Although the name is known by lots of oldie rock, one can confess that hardly no songs of that band remain in mind. First because they weren't aired enough especially outside america. Second because of the the huge success of Lynyrd Skynyrd. No other southern rock bands had such popularity. Last, the singer's voice is very particular and may disturb the listener's concentration. However, I think Black Oak Arkansas was one of those great but rare southern bands that made great songs. Listen to the extracts to make up your mind.

Extracts :
Swimming In Quicksand

Fancy Nancy

My Black Oak Arkansas TOP3 :
1. High On The Hog (1973)
2. Black Oak Arkansas (1970)
3. Keep The Faith (1972)

My Black Oak Arkansas BOTTOM3 :
1. The Wild Bunch (1999)
2. Black Attack Is Back (1986)
3. I'd Rather Be Sailing (1978)

SHOW ME YOUR DARK SIDE (VAC#021)

VARIOUS ARTISTS
SHOW ME YOUR DARK SIDE

I know I was waited for that part of the Pink Floyd cover project and I know no mistakes and no bad taste would be accepted. I know I can be hanged by the balls for that audacious artwork, but that made me so laugh!
However, everyone know that Dark Side Of The Moon is one of the most tributed albums. This is just another one... So many tributes to the Dark Side but a lot are forgettable: I have to mention an A capella version, a Jazz version, a Reggae version, a (good) bluegrass version, a lounge version, a female voices version, and many more as a version sung by children. It would have been so easy to make such a tribute, but the problem is, the more popular an album is the more stupid covers you find. And when it's not a stupid version, it's a so similar one that it does not have any interest (I first think of the Dream Theater version). So Dark Side, contrarily to what anyone would have expected, including me, was the most difficult PF tribute to compile. And even if I would not like difficulties, I also wanted the tacks to crossfade as the original ones do. Very uneasy for such different versions. But I made the crossfades and it seems to work out very fine for what could be the first side (until Money). After that, the tracks are so different from one another that you may feel uncomfortable with some transitions. I must apologize for it.